The New York Times' Scores

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For 20,311 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,399 out of 20311
  2. Mixed: 8,446 out of 20311
  3. Negative: 2,466 out of 20311
20311 movie reviews
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  1. Flesh and Blood
    A dreary pileup of hard-luck monologues and run-down locations, Mark Webber’s Flesh and Blood straddles the line between fact and fiction with exhausting earnestness and a fatal dearth of narrative.
  2. Santa & Andrés
    Santa & Andrés begins as a film about separation and pain, but becomes a movie about reconciliation and healing.
  3. Three Billboards Outside Ebbing, Missouri
    Everything fits together too neatly in “Three Billboards,” even when chaos descends, but the performers add enough rough texture so that it doesn’t always feel so worked.
  4. Murder on the Orient Express
    Most radically, this is a Poirot with heart. This interpretation is a dumb idea, but Mr. Branagh, an actor of prodigious skills, can at least pull this one half off. It’s not the only dumb idea in this film, which nevertheless bounces along in a way that’s sometimes almost entertaining.
  5. A River Below
    The truth turns into a tangled mess in A River Below, a bold and urgent documentary whose seemingly straightforward story quickly runs awry.
  6. LBJ
    Directed by Rob Reiner from Joey Hartstone’s script, LBJ is a frustratingly underdeveloped vehicle for Mr. Harrelson’s talents as well as an unfortunate missed opportunity.
  7. Wait for Your Laugh
    Jason Wise’s documentary, which relies on re-enactments and backstage footage with sparing use of performances, is a love letter to the performer but not the business, in which she managed to achieve a measure of fame for nine decades, while still being overlooked. Her single-minded focus on work is presented as admirable but also something of a curse.
  8. Gilbert
    As an unlikely love story, this movie excels, presenting a relationship so affectionate and warm that it overwhelms the jokes.
  9. 11/8/16
    Considering all that’s been written and said over the last year, there’s not much new to learn from 11/8/16. But the film remains engaging for its stories, and is likely to be more instructive in the future, when passions have cooled. Judging by most people here, that won’t be soon.
  10. Last Flag Flying
    Even if Last Flag Flying isn’t quite persuasive, it is nonetheless enormously thought-provoking, and its roughness is a sign of how earnestly it grapples with matters that other movies about war prefer not to think about.
  11. Dream Boat
    Some of the tougher interviews suggest that Mr. Milewski would like Dream Boat to be more substantial, but that impulse is mostly kept at bay in favor of lighter scenes.
  12. No Dress Code Required
    No Dress Code Required chronicles the grudging advance of cultural change.
  13. It Happened in L.A.
    As a screenwriter, Ms. Morgan is nimble with glib conversation, and she is fearless at playing an often unlikable character. But this movie might only narrowly pass the Bechdel test, and mustering sympathy for Annette’s affluent, insular circle is difficult. The plot resolutions ultimately feel pat, and the conflicts, in retrospect, thin.
  14. Most Beautiful Island
    Dark corners of the immigrant experience in New York City, especially for women, are frighteningly dramatized in Ana Asensio’s suspense film Most Beautiful Island, a modest but effective writing-directing debut.
  15. My Friend Dahmer
    This film is sensitively wrought. It’s credible in its evocation of mid-’70s suburbia. The acting is excellent throughout, and Ross Lynch in the role of Dahmer elicits genuine sympathy for an increasingly lost but not yet monstrous soul. But in abandoning the subjective perspective of the graphic novel, My Friend Dahmer feels a little lacking in purpose.
  16. Along for the Ride
    As moving as Mr. de la Manitou’s testimony sometimes is, this movie too often feels like a credulity-straining attempt at hagiography.
  17. A Gray State
    There’s a morbid fascination inherent to documentaries like A Gray State, which is engrossing for the reasons it’s also unsatisfying: As Adam Shambour, a friend of Mr. Crowley’s, says, it’s a mystery that answers all the major questions except “Why?”
  18. A Bad Moms Christmas
    Add the magnificent Christine Baranski to the mix and A Bad Moms Christmas, while still a slog of base sight gags and lazy profanity, becomes marginally more bearable. Only marginally, given that this pitiful follow-up to last year’s “Bad Moms” is even less able to distinguish between crass and comedic.
  19. Blade of the Immortal
    Though not nearly as mindful or meaty as Mr. Miike’s 2011 triumph, 13 Assassins, “Blade” is creatively gory fun.
  20. Thor: Ragnarok
    Marvel could have gone grimmer, broodier and sterner, but that isn’t its onscreen way; so it has made Thor sunnier, sillier and funnier. It’s a good fit, at least for a while.
  21. 1945
    Absorbing and finely wrought, 1945 is not perfect.
  22. The Light of the Moon
    As a resource for those looking to understand the process of recovery, it’s hard to imagine a more comprehensive or sympathetic look at the challenge of surviving.
  23. Frank Serpico
    The star of the movie is a compelling figure, and Mr. D’Ambrosio presents quite a few people from Mr. Serpico’s past who have a similar draw. But the director’s filmmaking instincts are not always salutary.
  24. Lady Bird
    You might think you’ve seen this all before. You probably have, but never quite like this. What Ms. Gerwig has done — and it’s by no means a small accomplishment — is to infuse one of the most convention-bound, rose-colored genres in American cinema with freshness and surprise.
  25. Maya Dardel
    For all the linguistic gymnastics, the film is hamstrung by its directors’ lack of visual imagination.
  26. Mully
    Mr. Mully’s actions speak for themselves, and his robust personality makes him a pleasure to listen to. If the film doesn’t always dig deeply into this man’s life, we still see the results of his efforts. Those are enough to admire.
  27. Joan Didion: The Center Will Not Hold
    Ms. Didion’s triumph, as a writer and a human being, has been to take the age for what it is, to pinpoint how she saw it, and to stick it out.
  28. Suburbicon
    Mr. Clooney gets some things right in Suburbicon, including visually and with his two appealing child actors, who together give the movie a heartbeat.... But he skimps on the adult characters’ inner lives, and, once the narrative weight shifts to the Lodges, he never finds the tone that balances the movie’s sincerity with its nihilism.
  29. The Square
    The Square is ultimately a long version of Christian’s rambling apology, ostentatiously smart, maybe too much so for its own good, but ultimately complacent, craven and clueless.
  30. Novitiate
    Ms. Betts refrains from easy, uplifting answers and facile condemnations of organized religion. Aided by Kat Westergaard’s warm, restrained cinematography, she takes the viewer close to an understanding of Cathleen’s evolving sense of her relationship with God.
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